Dancing Time

Otago Witness, Issue 3769, 8 June 1926, Page 81

Dancing Time

STYLE IN DANCING.

WHERE THE ENGLISH MOVEMENTS SCORE. THE QUEST OF DISTINCTION.

By

ALEC. STANTON.

(Author of “Ballroom Dancing and How to Enjoy It.”) (Copyright.—For the Witness.)

VII. By a great many amateur dancers style is considered a tiresome thing invented by superior people to show how well they can carry it off themselves. “Of course, Jones can do the steps all right,” they say, “but the man has no stvle 1” The inference is, that if you are to be a really first-class dancer you must have style. Yes; there is no doubt of it. That is the meaning of the dark phrase about Jones. But although I maintain that style is necessary, I would not at all lay it down that style was the exclusive property of superior people. THE LONDON STY. \ Every good ballroom dancer, whether he knows it or not, has style. If he hasn’t style he is not a good dancer. That is to say, there is a certain finish, certainty and gracefulness in his movement which make you realise instantly that So-and-so has all the secrets of dancing in his possession. The ballroom couple who have style stand out immediately from all tlie other dancing couples. I would define style in dancing simply as the best possible execution of the steps according to recognised standards. Now there nr* three prevailing styles at present governing our ballrooms—the English style, the American, and the Continental. It will not, 1 think, be disputed among dancers of experience that from the point of view of gracefulness and charm, of that individual something whieffi is our special possession, the English style is easily the best ballroom style in the world. This is because it takes -all that is best in the ballroom dancers of other countries and troes one better by adding somethin'’ English to it. How, then, does one recognise the English style? The outstanding characteristic of this type of dancing is its quietness. It puts on the soft pedal. It outs out a” frills and trimmings. The English style will not have any stunts. It hates gymnastics. It likes precise rhythm, very neat footwork, a perfectly smooth flow without any of that bounce or choppiness von see on the stage, and above all it like 3 to see partners perfectly matched. This habit of cool headed, polished movement applies to all our dances from the oldest waltz to the newest novelty. And although it originates in London, the example is almost universally followed all over the Provinces. THE CONTINENTAL STYLE. The Continental style is a very different kettle of fish. Its speciality is making a fuss. “Look at me!” says France. “Have you ever seen anything like this?” Spain exclaims. In France, owing to this desire to cut a dash, the Tango, which is really an

exhibition dance, ia danced butter than anywhere except the Argentine, where it is popularly supposed to have originated. You can tell a French dancer at once by his exaggerated dips, his tricky footwork, his clastic bends and turns, jurd his don’t care manner. The French are undoubtedly clever and highly expert dancers, and their dexterity is so well known that Continental dancing ; s nearly always taken to mean the wav they do it in France. Spain, Italy, and Germany are not notable so much for their ballroom as for their traditional dances. We hear very little about them. THE AMERICAN STYLE—AND YOURS la America they arc "slick.” There is a nattiness in all their movements. But in addition to this, their technique is very “steppy.” They often favour a very short pace and stand-still movements that enable him to halt and look round. Our own dancing probably owes more to the American style than to that of any other country, and it is common knowledge that “iazz” blew over here from “God’s own Country.” In discriminating among all these I need hardiy point, out that vour style should be modelled on the London pattern. But there is one important point to remember. Just as a bowler will have a certain arm movement which suits him best, so you must find out for yourself what particular adaptation of the English style comes most naturally toycu. In other words, you must get your personalitv into your dancing. Your friends can tell you by your walk. They should just as easily bo able to tell you by your dancing. If, therefore, any of the points I have characterised as belonging to the London style discomfort you, don’t be afraid to discard them, or at all events to modify them to suit your own temperament and physique. TEE EXPERT TOUCH. You can only acquire good style as a dancer bv being efficient in each little movement. Then, when all tho details of deportment and steps are so familiar as almost to he second nature to you—• but not until—forget all about them,, and your natural ability and technique will merge into each other and constitute your ballroom style. To a great extent style is a matter of becoming an expert. It is the expert touch. It is knowing all about it, not* theoretically, but in actual practice. No wonder it i 3 the one thing that, makes a dancer proud of his dancing and the admiration of everyone else in the ballroom. For style means the little bit more which turns an ordinary dancer into a dancer of distinction.